Epsom’s Raye Freedman Arts Centre is a suitable venue for this world premier musical effort; a modestly sized auditorium with fully equipped proscenium arch stage. French Composer Patrick Geus has embarked on a highly ambitious project with this work. He arranged the musical numbers and co-wrote the lyrics and intermittent dialogue with producer Franziska Geus. 

The story seeks to engage the timeless themes of passion, romance and betrayal. Hector (David Goldthorpe) is an impassioned frustrated classical music student in Paris. He meets Street musician Chopin (Moses Mackay) who introduces him to his scene, in particular Aurelie (Rebecca Wright on opening night*).

They fall in love, but that’s a problem since Aurelie is receiving favours from her rich producer lover Jean-Sebastian (Bevan Williams), a flash car and major recording deal for instance. Torn between love and ambition, Aurelie chooses Hector but struggles to cope with having to compete with his obsession with music.

Jean-Sebastian doesn’t give up so easily either. The various stages of the tumultuous triangle culminate in is ostensibly driven to a head and the idealistic resolution is a bit too easily achieved, lacking somewhat in visceral impact.

The actual script, both dialogue and lyrics, seem to be very much in the first draft stage, offering an altogether pedestrian verbal account. John Fausett’s lucid direction is wholly diagrammatic; what is happening and how the characters feel is made quite clear through the often clichéd dialogue, with little real sense of atmosphere or emotion offered up.

The music is entirely recorded, even for scenes where the characters play instruments on stage. In this respect the quality of miming is quite good, however it’s a little distracting when Hector plays Aurelie the song he wrote for her on the grand piano but the sounds that emanate are classical guitar and a bowstring section.

The wholly safe performances of the leads are more ciphers than believable characters we can care about. There is little or no palpable chemistry between Aurelie and Hector, and even less between her and Jean-Sebastian. Chopin’s role is obviously intended as comic relief, but his routine wisecracks fail to really ignite.  

The most compelling turn, and ironically seeming to have more depth of character than the rest, is the self-choreographed silent ballerina ‘Musica’ (Claire Foster). Responding in dance to the music and action with graceful aplomb, her presence isn’t explained; nor does it need to be – she’s the embodiment of the spirit underlying the music. 

Adroitly conceived and skilfully rendered, the music overall is eclectic to a fault and unfortunately lacks the requisite lustre in its execution. There’s no discernable reason for the chorus of gratuitous Jamaican Rasta stereotypes warning us (and Hector) ‘Don’t Fall In Love With Love’, or the kaftan-clad afro-headed gospel chorus who are required to accompany the would-be rousing anthem ‘Let’s Talk About Life’. 

If such showpieces packed more punch in the rendition it would help a little more to justify their nonsensical presence. The hard rock number ‘God of Rock ’n’ Roll’ by amusing cockney stadium-rock giant Amadeus (Carl Hoggen) also promises more than it delivers, and the bicycle song is just rather silly. The more successful musical pieces are the less complicated ones, indicating a probable time constraint in the ensemble’s rehearsal time. 

Whilst a few of the larger ensemble numbers are a little on the messy side, the production on the whole is quite neatly assembled. Clearly in this blueprint they’ve concentrated mainly on the music – the other elements seem more cursory; sketched in to be fleshed up later.

Trish Dennis’ perfunctory wardrobe design offers a few smiles, nothing outrageous. Presumably there were budget constraints – no production company or sponsors to be seen in the credits – given which, Director Fausett’s set and lighting design is quite well done overall; making the most of fairly limited resources. 

The rear cyclorama puts the most effort into evoking the Parisian setting of most of the play. Numerous striking original Impressionist-style paintings of the famous art and romance capital of the world by Daniel Wall are accompanied by photographs of same. 

With a radical rewrite of the story, dialogue and lyrics, a real choreographer and an injection of genuine European joie de vivre in the direction and performance – not to mention a rich producer – Amour Fantastique might come nearer to the works it would appear to be aspiring to, like Chess.
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* Alternating with Heather Warne 
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